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PENCIL AND BRUSH 






ART IN THE 18 

MINNEAPOLIS SCHOOLS 



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NOVEMBER: 1 916 



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A SERIES OF MONOGRAPHS 

EACH TREATING SOME PHASE OF THE 
MINNEAPOLIS PUBLIC SCHOOLS 



These monographs are designed to take the place of con- 
ventional annual or biennial reports. 

1. A Million a Year. 

A five-year building program, including a discus- 
sion of policies concerning junior high schools, 
extending the normal capacity of the school plant 
and the establishment of standard distances for 
the location of school buildings. 

Issued, September, 1916 

2. Financing the Minneapolis Schools. 

Sources of revenue; expenditures. 

Issued, September, 1916 

2a. The Price of Progress. 

Legislative program of the Board of Education; 
calls for the authorization of increased revenues 
through tax levies and bond issues, and the inde- 
pendence of the Board of Education in fixing the 
tax rate for educational purposes, subject only to 
maximum rates established by the Legislature. 

Issued, November, 1916 

3. Where Are the Children? 

Describes a continuous census taken and kept by 
the schools; also means of securing -regular 
attendance. 

Ready, December, 1916 

4. Keeping the Children Well. 

Medical inspection; school nurses; the open air 
school; open air rooms. 

Ready, December, 1916 

5. In a Major Key. 

Music in the Minneapolis Schools. 

Issued, December, 1916 

6. Pencil and Brush. 

Art in the Minneapolis Schools. 

Issued, November, 1916 

7. Wider Use of the School Plant. 

Ready, January, 1917 

8. Operation of the School Plant 

Ready, January, 1917 

9. Out of the Beaten Track. 

School publications; entertainments; festivals; 
various activities not in the regular curriculum. 

Ready, January, 1917 

(Continued on inside back cover) 



Pencil and Brush 



Art in the Minneapolis Schools 



Monograph Number 6 
Series of 1916-17 



Ordered Published by the Board of Education 
City of Minneapolis^November, 1916 






Under the general direction of the 

Superintendent of Schools 

this monograph was 

prepared by 

M. EMMA ROBERTS 

Supervisor of Drawing in the 

Minneapolis Public Schools 

Cover design and hand lettering 

by pupils in 

West High School 



D.« M D. 

JAN 22 191 7 






CONTENTS. 

I. Art in Elementary Grades 1 

II. Art in Grammar Grades 13 

III. Art in Junior High Schools 19 

IV. Art in Senior High Schools 25 

V. School Decoration 31 

VI. A Broader View 37 

VII. A Vision for the Future 41 

Illustrations. 

Halloween in the William Penn kindergarten v j 

Story illustration with scissors and pencil 2 

Clay modeling of animals; third grade, Greeley School 4 

Clay modeling of nuts and fruits in second grade, animals in third grade and 

pottery in sixth grade 5 

Clay modeling of pottery; sixth grade, Douglas School 6 

Application of lettering to school activities; all grades from second to eighth 7 

Cardboard construction work of grades three to eight inclusive 8 

Hiawatha in illustration and dramatization; fourth grade, Garfield School 9 

A painting lesson at Emerson School 10 

Designs made and executed in the High School Domestic Art classes 12 

Eighth grade house planners at Garfield School 14 

Ground floor plans and elevations for bungalows, by eighth grades of Lyndale and 
Harrison schools 16 

Lettering and pose drawing from the Commercial Course of South High School; 

pages for "The Cardinal," the annual of East High School 18 

Showing equipment of high school drawing room • 20 

Products of three of the crafts taught in the High School Art Course, leather 
tooling, pottery making and stenciling 22 

Groups of objects to be used in advertising posters, Commercial Course in South 
High School; designs for covers, Art Course in high school 24 

Some of the regular work of Central High School . 26 

Posters advertising the Senior Play and the "Centralian" of Central High School. . 28 

Many beautiful pictures and casts have been assembled in the entrance hall of 
Douglas School '.'. ' 30 

A good arrangement of pictures in a first grade room, Thomas Lowry School 32 

The upper hall of the Thomas Lowry School. Pictures were chosen with consid- 
eration of architectural spacing 34 

Designs for tail pieces and decorative spots in "Polaris," the annual of North 
High School; pages for the "Centralian," the annual of Central High School.. 36 

Posters by Central High School students reproduced from School Arts Magazine. . 40 



Board of Education 

City of Minneapolis, Minnesota 
1915-16 

Members 

Horace N. Leighton _____ President 

Cavour Laxgdon __-_-_ Secretary 

Alex G. Baixbridge Harixgtox Beard 

Arthur F. Bexsox Hexry Deutsch 

"Mae Snow 

Frank E. Spaulding ----- Superintendent 
Charles M. Jordan - Superintendent Emeritus 

Assistant Superintendents 

Catherine T. Bryce Elizabeth Hall 

Johx N. Greer, advisory on high schools 

Bennett B. Jackson Flora E. Pope 

William F. Webster 

George F. Womrath. for business affairs 



* "Drawing is 
thinking an<L-- 
marking around 
the think'.' 

'*"-*—* A Chi Ids 
Definition. ♦ 







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I 



ART IN ELEMENTARY GRADES 




HIS monograph is intended to give the reader, in a 
brief survey of the work done in the drawing depart- 
ment of the Public Schools of Minneapolis, a peep 
into the past, a glance at the present and a vision for 
the future. It should also carry a convincing reason for the belief 
that the spirit of the subject is essential — a life-giving spirit 
which should vitalize the whole educational body. 

"The world is so full of a number of things" and most of 
them can be correlated with the work of the drawing department. 
Pencil and brush are but two of the many tools needed by the 
drawing department, but they serve to concrete the subject. 

There is a drawing period in the kindergarten, though draw- 
ing is not formally taught. The free expression work of kinder- 
garten children is a medium through which the teacher may see 
the mind developing and discover individual needs. All children 
like to use the picture language, and through this keen desire to 
make themselves understood may come a training in clearer 
thinking, control of material, which means self control and a 
quickening of the power of general observation in an effort to 
acquire the form vocabulary needed. 

In all the primary grades, scissors are a tool for freehand 
drawing. Sometimes the cutting is made while pupils look at an 
object in the front of the room; more often as an expression of 
the mental picture made in the mind by the telling of a story. 
This is excellent training for memorizing form and relative pro- 
portion. In all these grades, drawing, whether with pencil, 
brush, chalk or scissors, becomes a language which is freely and 




Ill 



ART IN ELEMENTARY GRADES 3 

gladly used, but which becomes obsolete in the grammar grades 
owing to the more critical attitude of the older mind. In some 
rooms, the drawing has been used to visualize the songs sung by 
the children, and the pictures show that the words of a song 
sometimes produce an unexpected impression. 

Wafer color is used first in the second grade, crayons being- 
used in the first grade to add the joy of color. 

Technical instruction in drawing is scarcely attempted below 
the grammar grades, as it is considered a wiser plan to give the 
younger children a general knowledge of different phases of the 
subject. The elementary grades should constitute a habit-form- 
ing period, leaving specialized training for higher grades. 

A study of design has been placed in each year's work from 
the first through high school, and it has been possible to make 
considerable progress in it. A knowledge of design is the basis 
of all good art. It is well named the "grammar of art/' and 
children cannot be taught too early to use it. 

The orderly arrangement of units in the primary grades 
teaches one of the fundamental principles. These exercises are 
a delight to the child, and serve to teach beauty of shape, propor- 
tion and color. Many of the design exercises in stenciling, or 
cutting and pasting, constitute good seat work and in this the 
drawing correlates with other work. Construction becomes part 
of the design course, a design being made only when there is an 
object to beautify. The shape and size of box, book or tile pre- 
determines the kind of design to be made. The limitation of 
different materials, such as paper, clay or fabrics, introduces 
the problem of adaptation, and cultivates judgment and resource- 
fulness. 

In the present industrial trend of all education, the old-time 
course of study in drawing has disappeared and the adaptability 
of the subject and versatility of the drawing teacher is being 
demonstrated. 




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Clay modeling of nuts and fruits in second grade, animals in third 
grade and pottery in sixth grade. 






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be the inalien-- 
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Designs made and executed in the High School Domestic Art classes. 



II 

ART IN GRAMMAR GRADES 




RGANIZATION of the grammar grades into depart- 
mental groups makes it possible to strengthen greatly the 
work in drawing. When one teacher is made respon- 
sible for the drawing in a number of rooms, it seems 
more worth her while to make special preparation for teaching 
the subject. 

It is a pleasure for one teacher to be able to develop the work 
with the same pupils, carrying them through two or three years. 
There is opportunity for a continuity of thought and a breadth of 
treatment not possible when the work is taught by several 
teachers, whose interests must be many times divided. Teachers 
who have liked the drawing before are glad to specialize now, 
and are proving their ability. In a few of the schools there are 
art-trained teachers who can handle an academic subject in addi- 
tion to the drawing, and the growth of the departmental plan 
throughout the country will demand preparation for such com- 
binations. 

The pupils of the grammar grades are ready for technical 
work, and the drawing given is of a more formal character than 
in the grades below. The paper cutting, illustrative drawing and 
water color give place to object drawing, lettering, and design 
and composition. 

Courses in manual training, cooking and sewing so fully 
supply the need for hand work that very little is done in the 
drawing period, excepting in connection with general school 
activities. The drawing classes are often called upon to assist 
with preparations for festivals and entertainments, and the draw- 
ing time is gladly given up to meet such demands. Nothing else 
so wakens the interest of the pupils as the realization of the fact 




in 



ART IN GRAMMAR GRADES 15 

that the work of the classroom is closely allied with the business 
of life. 

Making of portfolios which may be used for school papers 
forms part of the work in these grades. 

The 7B and 8B classes are this year beginning work in 
house planning and interior decoration. The purpose of this 
course is to make the pupils more observant of home conditions, 
more alive to the desirability of beauty in line and proportion, and 
more intelligent citizens when they become homemakers and 
householders. 

In connection with this, they are learning to read plans and 
working drawings, and to make drawings to scale. This is a 
direct application of the knowledge gained by the boys in the 
manual training classes, of which the girls have an equal need. 
The course will include a study of color as related to the exterior 
and interior of the house, and some knowledge of wall and floor 
coverings and furniture design. There are unlimited possibil- 
ities, and that it is a live subject is evidenced by the interest 
shown. 




Ground floor plans and elevations for bungalows, by eighth 
grades of Lyndale and Harrison schools. 



"What "we like** 
determines what 
we are and to ** 
teach taste inev- 
itably determines 
character' —a-n— a 
Ruekin 



SILHOUETTES 
OF 

FACULTY 

Will be shown 
in South Hioh 

AUDITORIUM 

WEDNESDAY 
NOV_24 ."• 




Lettering and pose drawing" from the Commercial Course 
of South High School; pages for ''The Cardinal," 
the annual of East Hio-h School. 



Ill 

ART IN JUNIOR HIGH SCHOOLS 




UNIOR high schools present a new and most interesting 
problem for the art department. They offer many op- 
portunities to make the work both interesting and im- 
mediately useful to the student. 

These schools will have a somewhat special equipment in the 
room devoted to drawing, and the work will be in charge of a 
technically trained teacher. This will make it possible to con- 
sider the individual needs of pupils and to adapt the work to 
those needs. It is probable that many things not in the course of 
study will be taught. 

Craft work, usually omitted in grade schools because of the 
difficulty of handling these subjects in the average room, will be 
provided in the junior high schools where studio conveniences 
will be supplied. 

One of the three buildings housing junior highs will contain 
a kiln for firing pottery. This will probably become a center for 
the firing of pottery made in any of the city schools. The experi- 
ence of applying glaze and watching it develop will be a fascinat- 
ing one, and will teach the workers to appreciate and better 
understand the subject of ceramics. 

Printing is to be taught in the junior highs, and this will 
offer new opportunity for the exercise of design principles. 
Planning arrangements and compositions with movable types will 
give a new viewpoint for the lettering lessons in the studio. 

One of the most difficult things to teach is a feeling for good 
composition, as expressed in a division of space. It is difficult 
because few definite rules can be given, and the pupils must be 
led by the teacher's appreciative feeling. All finished written 
work should evidence this teaching, in good margining and place- 

—19— 




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ART IN JUNIOR HIGH SCHOOLS 21 

ment of titles. The output from the school printing presses 
should show a knowledge of design and composition as applied to 
business needs. 

Until all the ninth grade pupils are placed in junior high 
schools the course in drawing for this grade will follow in gen- 
eral plan that now used in senior high schools, in order that pupils 
going from one to the other may find themselves prepared to take 
up the work in classes already established. 

There is an excellent opportunity in the differentiated courses 
of the junior high school to discover pupils who have special 
aptitude in drawing and to guide them into the line of work for 
which they are best fitted. The field of fine arts is a limited one 
but for practical arts the horizon is unbounded. 




Products of three of the crafts taught in the High School Art Course, 
leather tooling, pottery making and stenciling. 



"The more m. 
%.%. things thou 
learnest to know 
and enjov. tbes. 
more complete 
and full will be 
s for tbee tbe 
jov of living** 
Plato 




Groups of objects to be used in advertising posters, Commercial 
Course in South High School; designs for covers, 
Art Course in hisrh school. 



IV 



ART IN SENIOR HIGH SCHOOLS 




N HIGH school, work in freehand drawing has become an 
elective course, and into this department are gathered the 
J few led there by natural talent or liking for the subject. 
[3 With such material and trained instruction, the work done 
is exceptionally good. The department is called upon to assist 
in most of the activities of the schools, and card writing and 
poster making take a natural place in the program. The illustra- 
tions for the school annuals are made in the studio under the 
supervision of the teacher, a co-operative arrangement which 
helps materially toward the beauty of these books. 

A craft is taught during part of each term. Pottery, book- 
binding, stenciling, woodblock printing, leather tooling, metal 
work and jewelry making are on the list, and are taken up, one at 
a time, according to circumstances and the needs and desires of 
the classes. When kilns are placed in the high school buildings, 
the course in pottery will be strengthened. The chemistry of 
glaze can be given in the chemistry class, and the applying of the 
glaze and firing of the kiln will vitalize the subject. 

In South High School very successful art work is being 
done in the commercial classes. Students who expect to go into 
business offices need a trained appreciation of the beauty of 
orderly arrangement. A knowledge of spacing, margining and 
the essentials of good letter heads will greatly improve the quality 
of work done. The ability to letter freely with brush or pen is a 
valuable asset. There is a growing demand for clever advertis- 
ing involving a knowledge of drawing of objects or figures. 
Many of the high school students can be trained to meet these 
demands with pleasure and profit to themselves, when drawing 
becomes a part of the commercial course. 




s. 



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ART IN SENIOR HIGH SCHOOLS 27 

Drawing and design are taught in the Domestic Art Course 
under the supervision of the Domestic Art Department, half time 
being given to work in the studio. 

Flowers and objects are drawn that the students may acquire 
facility with the pencil and accumulate material for original de- 
signs. Structural design and adaptation to use and material 
are emphasized, and many of the decorative stitches are taken in 
the drawing room. 

Costume design becomes a strong feature of the course, 
made effective by close connection between the studio and sewing 
room, each in charge of an expert in her own phase of the subject 
and working together for the total result. 

In the Girls' Vocational High School the practical use for 
drawing in every industry is fully demonstrated. Costumes and 
hats are designed and made, embroidery patterns are original 
with the worker and all the utilitarian output shows the influence 
of the art training. To the day nurses' class is given the primary 
handwork and many things that will help the girls when they 
undertake the care and entertainment of children. 

The salesmanship classes receive training in color harmony, 
window decorating and card writing. 

The drawing supervisors are assisting also in the training of 
the group of girls who intend to become rural teachers. This 
work is conducted in Central High School. The practical draw- 
ing course planned for these students includes most of the sub- 
jects given in the city schools, simplified to meet the conditions 
found in rural schools. 

Somewhat the same course is given to another group of stu- 
dents who are preparing to become play assistants in the city 
schools. 




Posters advertising the Senior Play and the '"Centralian" of 
Central High School. 



"GDafce places »»* 
good for the body 
to live in and fair? 
for the eyes to rest 
*»upon and there- 
fore soothing to* 
the soul? 

WilliamODortte 




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V 

SCHOOL DECORATION 




INNEAPOLIS is rarely fortunate in the possession 
of a building that is an example of consistent deco- 
ration. This is the Thomas Lowry School. In it 
two hundred twenty-six beautiful pictures have been 
hung, given to the school by Mrs. Lowry in memory of her hus- 
band. 

These pictures were carefully selected by Mrs. Lowry. She 
desired to place before the pupils examples of the best reproduc- 
tions obtainable of masterpieces in portraiture, landscape and 
other subjects. The grading of the building was studied and 
the interests of children of different ages considered. Very large 
decorative pictures were hung in the halls. The moulding used 
for framing is uniform throughout the building and harmonizes 
with the woodwork, which is stained a beautiful gray-brown. 

The result is a never-ending joy to teachers and children who 
are privileged to use the building daily, and a revelation to vis- 
itors — a revelation of what can be accomplished when the decora- 
tion of a school building is included in the original plan and car- 
ried out consistently. 

The pictures in the schools are purchased almost entirely 
with money earned through entertainments, or are left as me- 
morials by graduating classes. The new picture is often unre- 
lated, either in subject or framing, to pictures already hung, and 
the result is often unfortunate. It is undesirable to grade pictures 
too closely in selecting for different rooms, as there are many 
subjects that appeal to all ages. The beauty of the building as a 
whole and the unity of each room should be considered, and 
some consistent plan developed as additions are made. Often a 

—3'— 



SCHOOL DECORATION' 33 

rearrangement of material on hand makes possible some com- 
plete center of interest, even though the whole building cannot 
be planned at once. 

Many such beauty spots can be found in the Minneapolis 
schools which own, taken together, a very large number of beau- 
tiful pictures. But the Thomas Lowry School, because of Mrs. 
Lowry's gift, expresses the realization of an ideal and empha- 
sizes in an unusual degree the influence of beautiful surround- 
ings. 

It is one of the varied duties and pleasures of the drawing 
department to assist in the selection and hanging of pictures and 
decorative material purchased by the schools. 

When the time comes that the public recognizes the elevat- 
ing influence of association with objects "fair for the eye to rest 
upon," provision will be made for beautifying the rooms where 
children spend most of their waking hours. 

In many cities there are associations which render valuable 
assistance in this work. These societies, with a membership 
representing various parts of the city and working under ad- 
visement with the school authorities, gain a city-wide view of 
school needs and can develop their plans accordingly. 

Minneapolis should have a schools arts league composed of 
men and women who value the cultural development of the city. 
Daily association with good pictures and statuary affords one of 
the best means of developing culture. 










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ing for them but-* 
by understanding 
them.tbat we be- 
come the real pos- 
sessors of worfts 
of art and of the 
enjoyments they* 
give."*- — •»*— — * 




BGDKI 

InL otnUDL 




BODKIV 

ATHLETICS 



Designs for tail pieces and decorative spots in "Polaris," the annual 

of North High School; pages for the "Centralian," 

the annual of Central High School. 



VI 

A BROADER VIEW 




ITH the opening of the Minneapolis Institute of Arts, 
another cultural opportunity was given to the city 
and another phase of art education to the drawing 
department. 

A systematic plan was adopted last winter for making a 
direct connection between the Institute and the Public Schools. 
A half day a week was given by the Supervisor of Drawing to 
picture talks at the Institute and various upper grade classes 
attended by appointment. About fifty such talks were given to 
an average group of seventy-five students. 

As the Institute is young and does not own any very com- 
plete collections, the subjects chosen had to be general, such as 
the history of tapestry, the history of furniture, and so forth. 
The structure of trees and their use in landscape proved an inter- 
esting topic. After the talks, the classes spent an hour visiting 
the galleries. 

It is probable that visits to the Institute as part of the work 
of the upper grades may be arranged once a term or once a year. 
There is much to be gained in general knowledge and culture 
by such trips, and reports may be given as oral compositions. 
Required written work often kills the interest and makes an art 
gallery dreaded. Trips to the Institute should be made so attrac- 
tive that children will want to go often. 

Picture study has been a problem in school work for many 
years. Recently interest in the subject has assumed more active 
form and it promises to take its proper place in the curriculum 
as material for reading lessons. It is a literary subject and has 
been put into the drawing time only because the teacher of draw- 

—37— 



38 PENCIL AND BRUSH 

ing would not have it omitted entirely. The opportunities for 
general knowledge of history and geography equal the oppor- 
tunities for art knowledge, and it belongs with the academic 
topics. An acquaintance with artists should go hand in hand 
with an acquaintance of authors as a measure of refinement and 
culture. 

There are many children in the public schools who show 
natural ability for drawing. Where such large numbers must 
be considered, individual training becomes impossible. The 
School of Art is desirous of helping to foster and develop this 
latent talent and plans are being made for classes there. 



"the habit of re- 
garding art as a* 
thing apart from* 
life is fatal to the 
development of * 
taste.tts tcue func- 
tion should be to* 
contribute to the* 
joy of living". 




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Posters by Central High School students reproduced from School Arts Magazine. 

Work was collected by Henry Turner Bailey, its editor, 

while visiting the Minneapolis schools. 



VII 

A VISION FOR THE FUTURE 




^RAWING has long appeared on the programs of public 
school teachers and the subject has covered "a multitude 
of sins." Also, like charity, it has brought joy and 
brightness and health to many in need of such help. 



Whether supervised or unsupervised, the drawing period has 
been one of experimentation and, from the nature of the sub- 
ject, probably will continue to be so. 

There are few definite principles of fine art training which 
should be taught in the public schools, but every child who attends 
these schools should leave them with a trained appreciation of 
beauty in its various forms, beauty in nature, beauty in orderly 
arrangement, beauty in good workmanship. If all were per- 
meated by this clear vision of beauty, there would be no need 
of a course of study in drawing — it could exist as a "state of 
mind" in the teacher. Then, so far as she could control the 
affairs of the schoolroom, there would be beauty of color, form 
and arrangement, evidenced in becoming dress, pleasing room 
decorations and order in personal belongings. Could she impress 
her "state of mind" upon her pupils, the whole day would be 
filled with the teaching of principles that are sometimes confined 
to the drawing period. 

It is good to have visions even if not all of them can be 
realized. The ethical standard is much better understood by 
the public than the esthetic standard. A common school educa- 
tion is conceded to be the right of every child ; he should have a 
like uncontested right to an art education. Popular opinion has 
taught that refinement is expensive. Popular opinion must be 
laught that refinement and culture is not a matter of money 
values. 

—41— 



42 PENCIL AND BRUSH 

Artists have devoted much time to the beautifying of expen- 
sive articles which only the wealthy can buy; the schools must 
teach the beauty of line and color in inexpensive things which all 
may buy. This is the only hope of training the masses and lift- 
ing the country to the level of other countries which have for 
years been training the masses to demand beautiful things. 

Truth and beauty are always represented as going hand in 
hand. Teachers are expected to be the embodiment of integrity. 
The lessons the children learn from their daily presence and 
personal example are not consciously taught. The teacher's 
esthetic standard should be as high as the ethical, and it should 
be the duty of every teacher to live up to one as conscientiously 
as to the other. The beauty of orderly arrangement cannot be 
taught by a disorderly teacher; the beauty of nature cannot be 
taught by one who does not see it. The beauty of good work- 
manship cannot be taught by a poor workman. "What you do 
speaks so loud that I cannot hear what you say," said Emerson. 

The exercise of this vital influence does not presuppose a 
training in technical drawing, though it often accompanies or 
follows it. Some persons are born with an ear for music, but 
most gain by training. Some are born with a fine sense of 
color, a feeling for fine form and good arrangement, but most 
persons need training for appreciative understanding. If this 
training could be given to all the youth of the land throughout 
the school life, this would soon become an "artistic" nation. 
Taste and skill are fruits which must develop from the seeds 
planted in the minds of the public, and these children are that 
public. An undimmed vision and untiring effort will bring the 
miracle to pass. 




A SERIES OF MONOGRAPHS 

(Continued from inside front cover.) 

10. Teaching in Minneapolis. 

Conditions of appointment, retention and ad- 
vancement; salaries; expenses; advantages. 

Ready, January, 1917 

1 1 . Making Children Strong. 

.Athletics, plays and games,, gymnasium work. 

Ready, February, 1917 

12. Housing the Children. 

School buildings, old and new; different types; 
additions; remodeling and repairing; grounds, 
equipment. 

Ready, February, 1917 

13. Becoming Professional. 

Professional organizations of teachers; work at 
the University of Minnesota; "extension"' work; 
research in the schools; summer school study. 

Ready, March, 1917 

14. Why Summer Schools? 

Ready, March, 1917 

15. Children Who Are Different. 

Defectives, subnormals and backward pupils; pro- 
visions made for them. 

Ready, April, 1917 

16. Something About Minneapolis Kindergartens. 

Ready, April, 1917 

17. The Critical Period, 

Junior High Schools. 



18. The Parting of the Ways. 

Senior High Schools. 

19. After the Day's Work. 

Minneapolis Evening Schools. 



Ready, May, 1917 
Ready, May, 1917 
Ready, June, 1917 



20. Possibility and Opportunity. 

Vocational guidance, placement and supervision. 

Ready, June, 1917 

Other monographs in preparation ; titles and dates of pub- 
lication to be announced from time to time. 

Monographs are uniformly 6x9, printed on good paper and 
illustrated with charts, diagrams and photographs. Price, 
single copies, 25 cents; ten or more copies to one address, 10 
per cent discount, postage paid. One hundred or more copies 
to one address at 25 per cent discount, transportation to be paid 
by the purchaser. Address, Secretary to the Superintendent of 
Schools, 305 City Hall, Minneapolis, Minn. 



LIBRARY OF CONGRESS 



022 124 139 3 # 



